A great broker is not only well-versed in finding the right insurance
but can also eloquently explain various coverages and solutions to
clients outside the field — no easy task, to be sure.

Such is the case of Kristina Marcigliano.

“Kristina makes the complicated world of insurance easyto understand when she explains it to us lay people,” said JuanAngulo, controller, Bunny Williams Inc., an interior design company.

Earlier this year, Marcigliano sat down with Angulo to review the company’s insurance
policies. She pointed out where they had gaps, where they could increase limits and
answered questions as they arose.

Gerald Peters Gallery’s registrar Lindsey Lutz, who usually handles the gallery’s renewal
process, was out of the office during renewal time this year. One of her colleagues stepped
in — but she didn’t typically work with insurance and the jargon that comes with it.

“Kristina walked my colleague through it and was extremely helpful and informative
during the entire process,” Lutz said.

In another instance, another one of Marcigliano’s clients decided to begin a site
renovation, turning its studio area into a place for art exhibitions.

“Kristina is there to see if there are any flags that come up that might impact our
fine arts insurance,” said Susan Reynolds, director, The Milton Resnick and Pat Passlof
Foundation. Her guidance provides peace of mind in the high-value world of fine art.

Mary Pontillo, De Witt Stern’s national fine art practice leader, places
value in educating her clients on the different types of insurance
coverages available to them.

The Joan Mitchell Foundation was debating whether it shouldchange its collection’s storage to a different facility. Pontillo listedthe pros and cons of the possible move and was “proactive aroundbrainstorming,” said Christa Blatchford, the foundation’s CEO.

Pontillo also took the time to build a loan and insurance rubric for the foundation, keeping
the registrar, executive director, board members and lawyers on the same page during the
art lending process.

“It makes the insurance conversation front-end instead of after the fact,” said Blatchford.

And like all good teachers, Pontillo never stops learning: “I was with her at a registrars’
conference,” said Thomas Burns, chief operating officer, The Fortress, which provides
storage and transportation for fine art in Boston, Miami and New York. “Mary went to every
possible session she could to learn as much as she could.”

One artist who was a client of The Fortress passed away last year, and his children
needed to store his work. Burns planned the entire move, but the day before, he found that
the family didn’t have insurance for transportation. He called Pontillo.

“Mary didn’t worry about what they didn’t do or what they didn’t have; she focused on the
positives,” got the right insurance and had the art transported as planned, he said.

Adrienne Reid, CICVice PresidentHuntington T. Block, Houston

A Passion for Art

“Adrienne Reid has a genuine interest in the pieces we have,” said
Anne Breckenridge Barrett, director of collections and exhibitions,
Museum of Contemporary Art Chicago.

It’s this dedication that convinced the museum to switch toReid from their previous broker. And this year, it proved to be theright choice. The museum held a 50-year anniversary celebrationwhile also hosting a temporary Takashi Murakami exhibition at the same time. They had ondisplay some of their most valuable pieces, including an original Andy Warhol.

To have both exhibitions under one roof, the museum needed to increase its policy limits
and temporary policy limits. Reid got to work and kept the museum well under budget,
negotiating lower premium rates with the underwriter.

Ricardo Mazal, artist and owner of Ricardo Mazal Inc., had an exhibit in Mexico City. To
cross the border, customs agents had to inspect the truck first, which meant they would
need to handle the art and repackage it.

“Because of the logistics of the customs agents, it was a short time to work,” Mazal said.

Altogether, $1 million worth of paintings were handled and transported over the border.

Few underwriters wanted to cover this high-risk load as it traveled through Mexico.

But Reid persevered.

“Adrienne [was] incredibly helpful; [she] was 24/7. At the end, she was able to have
everything in place for us. I can count on her wherever I am with whatever we have.”

Ever SongAccount ExecutiveHuntington T. Block, Washington, D.C

Queen of Conservation

To prevent artwork from showing signs of the wear-and-tear
of age, art conservationists take the lead in preserving and
maintaining these valuable relics from the past.

And behind these conservators is Ever Song.

“I have been working with Ever for many years and couldn’trun my business without her,” said Leslie Gat, president andfounder, the Art Conservation Group/Ransick Gat Fine Art Services Inc.In 2016, she had several large projects moving in and out of the studio, which neededanywhere from $1 million to $3 million in waiver or policy coverage at different moments.

“Ever got me to bump up to half a million dollars in cost of coverage,” said Gat. “She
lessened the stress and the cost didn’t go up as much as I thought it would.”

Deborah La Camera and Lorraine Bigrigg, both partners and senior conservators at
Studio TKM Associates Inc., run a paper conservation studio where clients often need art
procured and stored on the same day.

For instance, a collector of high-value drawings had a water issue in their storage
facility and needed the art picked up and brought to the studio immediately. La Camera and
Bigrigg called Song, who had to get the coverage in place while the art was transferred and
stored at the studio.

“Ever streamlined the process and writes each contract to custom fit that art’s needs
as well, showing clients their coverage is custom to their needs,” said La Camera.

When one of her clients needed to store artwork in its
basement, Weiss visited with an underwriter to assess the area
and any risks it posed to the safety of the pieces, and to come up
with some risk mitigation strategies.

The policy in place had a basement flood exclusion, soWeiss suggested where to add water sensors and advised the client how to respond to aflood event. She also got them flood insurance, going above and beyond to secure themadditional coverages for tidal waves or drain backups.

After Superstorm Sandy hit the East Coast, new insurance regulations regarding flood,
wind and storm surge were implemented. Weiss’s client, Vito Schnabel Projects, wanted to
review these regulations and work towards finding the best plan possible for their needs.
Weiss took the reins.

“Emily’s consultations have expanded my understanding of insurance proceduresand requirements, which in turn has significantly improved our company’s coverage,”said Jenna Schneider, registrar. She noted that, as she works with so many vendors daily,“Emily’s advice and prompt turnaround of information have allowed me to provide the bestcoverage to our vendors.”“Everything she does is hands on,” said Edward Mishan, a private art dealer who sellsaround the world. “She’s efficient. She knows all the details.”

The last call a museum registrar wants to receive is that a drunk
driver ran into an outdoor sculpture.

Leah Reeder, registrar, Fort Wayne Museum of Art,
unfortunately received that call, learning that a truck was wedged
underneath an outdoor piece. Emergency officials were able to pull
the truck out, but the sculpture collapsed.

Casey Wigglesworth was immediately brought on board.

“The sculpture was dismantled and sent to California for a little over a year forrestoration,” said Reeder. “Casey took the time to work with me to get the piece back to us.”Another client, Michelle Moskal, assistant registrar, Museum of the American Revolution,detailed a recent move of facilities.

“We couldn’t transport everything all at once,” said Moskal. Their insurance covered up
to a certain amount during transport, so Wigglesworth worked out what could be sent via
truck together.

“We’re in the midst of an active construction site while remaining operational,” said Mark
Ryan, assistant director for collections & exhibitions, the Mildred Lane Kemper Art Museum.

He said Wigglesworth provided critical insight into how to store art and keep staff and
visitors safe during construction, communicating with the university and museum partners
and providing information to their underwriters while the museum remained in operation.